London Thursday 1st August – Saturday 3rd August
Thursday
Whitechapel, Black Eyes and Lemonade (British popular art, the essay in the catalogue states “Through her curatorial method – though she herself would not have described it in such terms – she celebrated and made visible the participative networks of cultural production, championing the judgement of makers, collectors and consumers in opposition to the didactic dispensations of connoisseurs and design reformers.” ) and Time/Bank (which included a table, filing cabinet and white, cotton gloves like what I am going to do at 2nd Exhibition at DuchampIYoko).
First Thursdays on Vyner Street (The Limewharf Annex, Hada Contemporary et al.)
Friday
Hamish Fulton at Maureen Paley (originally an East End domestic space). The press release states “……walking has formed the basis of his practice, materializing in photographs and walk-texts…….”
Lazarides – Know Hope The Abstract and The Very Real (expensive graffiti style work, including 15 framed bricks with text on brass/gold plates at £750)
Photographers gallery (Mass Observation and John Hinde print sales, 19 x 24” Edition of 25 from £600 + VAT unframed)
“The Serpentine Gallery is delighted to present the first solo exhibition of the work of Sturtevant to be held in a public institution in the UK. Best known for the repetition of works by other artists – including Joseph Beuys, Marcel Duchamp and Felix Gonzalez-Torres – she made her controversial artistic debut in 1965 when she replicated Andy Warhol’s flower paintings, just months after their initial presentation. Despite early hostility to Sturtevant’s work and ideas, her influence has grown significantly over the past two decades. Many now regard her as one of the most important artists of the 21st century, realising that she presaged the world we live in today with its deluge of unattributed information and repeating imagery. Central to her thinking is the relationship between repetition and difference. The works are not ‘copies’ but probe beyond the surface to demonstrate the power of Gilles Deleuze and Michel Foucault’s thinking about repetition. She does this through the wholesale recreation of the work itself, without recourse to mechanical reproduction of any kind. As Sturtevant says, ‘The work is done predominantly from memory, using the same techniques, making the same errors and thus coming out in the same place’. Warhol was once asked how he made his work. ‘Ask Elaine [Sturtevant],’ he replied.”
Alternative Guide to the Universe at Hayward gallery
Bold Tendencies at Peckham multi-storey car park (Levels 7-10)
Tate (Ellen Gallagher, Saloua Raouda Choucair, Ibrahim El-Salahi and Meschac Gaba)
Whitecube (Sarah Morris and Marcus Galan…. “in the work Erased Composition (2013), Galan has produced a geometric grid of aqua-coloured erasers that visibly decrease in density, ranging from the whole object at the top to a pile of shavings at the bottom. Galan created the work by using the erasers for their intended purpose – rubbing out – in different degrees to create a work that, through the most simple and economic means, invokes a range of philosophical and art historical precedents from Rauschenberg’s Erased de Kooning Drawing (1951) to more metaphysical notions of matter and being.”)
Jerwood Makers Open
